Alfred Edel
Germany, right after the re-unification. The people are out of control, blind hatred towards immigrants is common sense. In this time, a social-worker, with the mission to bring a Polish family to their destination (an immigration camp in a little provincial town called Rassau), gets kidnapped just as the family. Chief inspector Koern and his girl-friend start to investigate in this matter in Rassau, exploring a world of obsessive sex, mislead lust and an over-whelming irrational love to the German nation, infiltrating anyone's mind. Rascism doesn't start with shaved hair and boots but rather in the middle of society itself...
Vicky, an out-of-work actress, struggling waitress and lesbian has her whole life thrown into turmoil when her father comes from Germany to visit. The main problem is that Vicky has told him she is a successful actress and happily married. She enlists the help of a gay friend to play her husband. Using a large range of characters—gay, lesbian, straight, transsexuals—the film creates a funny and touching view of family dynamics and sexuality.
In "German Chainsaw Massacre" people meet up with a household of butchers. They detect low cost meat in the East Germans moving over the old boundary into the West and start turning them into sausage. Clara flees the slaying of her sleazy spouse and the rotting East, and lands in the arms of butchers. She is held alive simply because the daughter of the family falls in love with her. This German movie is a satirical massacre splatter flick that provides lots of inexpensive gore. It's full of political overtones and has a lot to Tobe Hooper's terror classic "The Hollywood Chainsaw Hookers". If you're a lover of German gore and absurdness, check it out!. 16 million East Germans on their way to the golden West. 4% never got there: were they turned into Wuerste (sausages)? If you knew Christoph Schlingensief's other movies like "United Trash" you will know what this is all about - some call it art, some trash. Shot in 14 days after October the 3rd 1990. With Udo Kier in a small role.
A traumatized young man, abused by his father, imagines himself as Adolf Hitler when dreaming of revenge. Schlingensief released this film, which follows no linear narrative structure, at a moment when right-leaning German intellectuals argued for a coming to terms of the country’s relation with its Nazi past. Schlingensief disagreed. (MoMA)
A poignant film essay about 'superfluous people' facing up to a moment of crisis in their lives.
A young man, recently arrived in New York from Europe, becomes swept up in a series of events that are beyond his knowledge or control.
An early declaration of war on narrative cinema, using a barrage of visual and acoustic elements while at the same time juggling ironically - as he still does - with the term 'avant-garde'. A number of other preferences and obsessions were evident at an early stage, e.g. the mind-numbing habit of having his people stumbling and screaming around: life as a race track. His films likewise feature a lot of theatrical and cryptic outpourings. No wonder that they failed at the box office. No wonder either, however, that Schlingensief was attracted to theatre.
Hartmann, a first-time film director is trying to find an actor for the Role of Casanova. Wenn he meets Alfred Edel, the actor's colourful personality spoils Hartmann's vision of a glorious Casanova epic. In the end, the director realizes that all the time he wanted to make this movie to please his mother, so he decides instead to join Edel's way of having fun.
Gabi Teichert, a history teacher, is unhappy with the way history is portrayed in textbooks and is looking for an alternative, more practical approach to 'uncovering' the past, quite literally digging with the spade and dissecting books with hammers and drills.
Documentary film that examines the rise and fall of the Third Reich, incorporating puppetry, rear-screen projection, and a Wagnerian score into a singular epic vision. The director, who grew up under Nazi tyranny, ruminates on good and evil and the rest of humanity's complicity in the horrors of the holocaust.
Bruno Stroszek is released from prison and warned to stop drinking. He has few skills and fewer expectations: with a glockenspiel and an accordion, he ekes out a living as a street musician. He befriends Eva, a prostitute down on her luck and they join his neighbor, Scheitz, an elderly eccentric, when he leaves Germany to live in Wisconsin.
After having her second child, a German housewife suffers from post-partum depression before inexplicably falling into a continually misdiagnosed mental state, befuddling her relatives.
Willi is 18 years old and lives on the street. Without a goal in his life he walks around the city and meets several people, helping but also cheating him. When he meets a girl, Monica, he realizes that there are people out there whose lives are even more desperate than his. So he's trying to help her (and him) by planning a great robbery on a supermarket's money transporter.
The film follows Kaspar Hauser (Bruno S.), who lived the first seventeen years of his life chained in a tiny cellar with only a toy horse to occupy his time, devoid of all human contact except for a man who wears a black overcoat and top hat who feeds him.
Combining fictional and documentary modes, Kluge's In Danger and Dire Distress... takes a critical stance toward Frankfurt's public sphere and urban redevelopment. Despite the serious formal and political concerns of the film, Kluge's heightened sense of the absurd safeguards a reserve of utopian optimism.
Roswitha runs an illegal abortion clinic in Frankfurt to support her student husband and children. When she is forced to close her practice she delves into political and social activism.
Willi endeavors to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's the wrong side that he takes in this civil war...
A young circus director ends up going into television after her father, a trapeze performer, dies in a circus accident.
